We get there in time to see EL HULA play through their intoxicating set of countrified guitar jazz pop and frontman Blair delighting us with a convincing display in the manner of Nick Cave, Johnny Cash and Joe Strummer, to name a few. The bass player looks like a sasquatch and is wearing a pair of illuminous yellow trousers, a sight for sore eyes alright but I pray he doesn't venture out too far into the Liverpool night on his own! A job well done, leaving the small yet appreciative crowd well warmed up and ready for the guitar pop onslaught of THE GRIM NORTHERN SOCIAL.
They take to the stage and waste no time at all firing straight into the big crashing guitars of 'Maybe it's Time' and the giddy heights of mainman Ewan McFarlane's vocals. It's loud and punky with Ewan giving it the full on pocket dynamo treatment for the duration, like Steve Marriott, John Lydon and Robbie Williams rolled into one ( the latter only mentioned for his cheeky charm, something he's used to con people into thinking that he's any
good! ) Next is 'New Rage Hope Song' and more angular guitars complemented by hammond organs and sequenced sounds. The vocal delivery is theatrical and soaring, similar in places to the style of the singer from Turin Brakes in its versatility and angelic nature. Other comparisons would be the angst and hi-energy of Feeder, Ash or The Manics.
They weren't going to play the next song until a certain reviewer (?) mentioned beforehand that he quite liked it's progressive Pink Floyd-style qualty. 'Snap the Imposters' was the first song written by Ewan upon embarking on what was to become Grim Northern and takes an anti heroin stance that derived from the effect the drug has had on his home village of 'Stonehouse'. It's an epic tune that begins with the solemnity of a stark piano, cymbal splashes and electronic noise before exploding into the menacing and complex layers of guitars led throughout by the almost operatic
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vocals of the angry wee man. Amazing stuff. Pass the papers!
After this comes the Oasis like charge of 'The Changes' and the emo pop rock of next single 'Urban Pressure': both songs striking and instantaneous. Their most melodic and poptastic moment comes from first single 'Honey' an anthem to singalong too. They end with the song that ends their debut album and another outthere pop rocker 'Favourite Girl'. Once again Ewan's voice
gets the chance to exorcise some of the emotions he has building up inside and culminates a brilliant performance. It's anything but Grim! Instead we're treated to entertainment of the highest order,a bass player who looks unerringly like Jack Osborne and a band who in Ewan McFarlane, have a star just waiting for a clear night's sky in which to shine. The outlook is good.
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